and dismembering of the musical phrases, this want of time, and this sentimental trash?  They both have talent, but their expression was allowed to be developed of itself.  They both would have been very good players; but now they have lost all taste for the ideal, which manifests itself in the domain of truth, beauty, and simplicity.  If pupils are left to themselves, they imitate the improper and erroneous easily and skilfully; the right and suitable with difficulty, and certainly unskilfully.  Even the little fellow who can hardly speak learns to use naughty, abusive words more quickly and easily than fine, noble expressions.  What school-master has not been surprised at this facility, and what good old aunt has not laughed at it?  But you say, “It is not right to force the feelings of others!” That is quite unnecessary; but it is possible to rouse the feelings of others, to guide and educate them, without prejudicing their individuality of feeling, and without restraining or disturbing them, unless they are on the wrong path.  Who has not listened to performers and singers who were otherwise musical, but whose sentiment was either ridiculous or lamentable?

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It is generally acknowledged that, among other things, I have succeeded more or less with all my scholars in the attainment of a fine touch.  People desire to obtain from me the requisite exercises for the development of this; but not much can be gained from these.  The important thing is how and when they are to be used; and that most careful attention shall be paid in the selection of other etudes and pieces, in order that nothing shall be played which shall endanger the confirmation of the correct touch already acquired, or shall undo what has been accomplished in the lessons.  As I have said before, it does not depend upon much practising, but upon correct practising; and that the pupils shall not be allowed to fall into errors.  I am constantly asked, “How many hours a day do your daughters practise?” If the number of hours spent in practising gives the measure of the standing of a virtuoso, then my daughters are among the most insignificant, or in fact should not belong to the order at all.

This is the place for me to explain myself more fully with regard to playing with a loose wrist, in order that I shall not be misunderstood.  The tones which are produced with a loose wrist are always more tender and more attractive, have a fuller sound, and permit more delicate shading than the sharp tones, without body, which are thrown or fired off or tapped out with unendurable rigidity by the aid of the arm and fore-arm.  A superior technique can with few exceptions be more quickly and favorably acquired in this way than when the elbows are required to contribute their power.  I do not, however, censure the performance of many virtuosos, who execute rapid octave passages with a stiff wrist; they often do it with great precision, in the most rapid tempo, forcibly and effectively.  It must, after all, depend upon individual peculiarities whether the pupil can learn better and more quickly to play such passages thus or with a loose wrist.  The present style of bravoura playing for virtuosos cannot dispense with facility in octave passages; it is a necessary part of it.